Literary Heterogenesis: Diagrammatic Dynamics. The Interplay Between the Virtual and the Actual

Contents
1 Introduction: The Conditions for Creation and Invention
	1.1 Bridging. Articulating. Inventing
	1.2 The Favorable Conditions for Creation
		1.2.1 Loose Connectedness (Atlan and Shanon, Von Foerster’s Conjecture)
		1.2.2 Vagueness, Fuzziness, Indetermination (Peirce and Wittgenstein)
		1.2.3 Unachievement (Baktine)
		1.2.4 Blanks in the System. “Spots of Indeterminacy” (Ingarden)
		1.2.5 Deterministic Chaos (René Thom and David Ruelle). Orderly Disorder (N. Katherine Hayles)
		1.2.6 The Creation of an Artifact like the Use of Fiction or a Thought Experiment
	References
Part I The Construction of Literary Meaning
2 Literary Language
	2.1 The Literary System, a Secondary Modelling System (Jurij Lotman)
	2.2 The Literary Sign Versus the Linguistic Sign
		2.2.1 A Change in Nature
		2.2.2 A Change in the Limits of the Word
		2.2.3 A Change in the Relation Between Semantic Levels and Infra-semantic Levels
	2.3 Literary Language: A “Sort of Foreign Language”, or “Another Language Within Language”
	2.4 Literature as a Theoretical Commentary About Pragmatic Language (Roubaud)
	2.5 Literature as a Training Space for Humans to Develop Their Capacity to Innovate (Schmidt)
	2.6 Literary Creativity
	2.7 A Few Examples
		2.7.1 William Golding
		2.7.2 Grace Paley
		2.7.3 Gerard Manley Hopkins
		2.7.4 Emily Dickinson
		2.7.5 Francis Ponge
	2.8 The Reception of the Artistic Text
	References
3 Diagramming Literary Meaning
	3.1 The Choice of a Concept: The Diagram
		3.1.1 Peirce
		3.1.2 Deleuze
		3.1.3 Gilles Châtelet
	3.2 From Diagram to Diagramming
		3.2.1 Cognitive Artefacts
		3.2.2 Diagramming
	3.3 The Diagrammatic Dimension of Literary Writing
		3.3.1 Emily Dickinson
		3.3.2 E. E. Cummings
	References
Part II Heterogenesis of the Literary Text
4 Differential Heterogenesis. Mutant Forms, Sensitive Bodies
	4.1 The Interdisciplinary Perspective. Bridging Concepts
	4.2 Differential Heterogenesis According to A. Sarti, G. Citti and D. Piotrowski (Differential Heterogenesis. Mutant Forms, Sensitive Bodies)
		4.2.1 The Becoming of Forms
		4.2.2 Difference and Differential
		4.2.3 Multiplicity and Assemblages (“Agencements”)
		4.2.4 The Redefinition of Space. Towards a New Dynamics
		4.2.5 Motivations of the Project and Reference Domains
	References
5 The Simondonian Concepts of Pre-individual, Individuation, Becoming and Transduction
	5.1 The Relevance of Simondon’s Concepts
	5.2 Gilbert Simondon. Pre-individual, Individuation and Transduction: Presentation of the Concepts
	References
6 Simondon’s Concepts and Art
	6.1 Simondon’s Concepts Commented Upon by Writers and Painters
		6.1.1 Paul Valéry
		6.1.2 T.S. Eliot
		6.1.3 Anna-Eva Bergman/The “Not-Yet-Created”
		6.1.4 Pierre Soulages/The Irrelevance of Representation
	6.2 Simondon’s Concepts Performed, “Dramatized” by Poets and Painters
		6.2.1 E. E. Cummings
		6.2.2 Francis Ponge
		6.2.3 Cy Twombly
	References
7 Constituting New Spaces of Possibilities. How Does Artistic Creation Play with Space(s)
	7.1 The Literary Text, a Multidimensional Space
	7.2 Generating Textual Spaces by Breaking the Rules
		7.2.1 Breaking Literary Rules
		7.2.2 Breaking Language Rules
	7.3 Generating Spaces Through Inventive Articulations
		7.3.1 At the Discursive Level
		7.3.2 At the Level of Words
	References
8 Difference, Differential
	8.1 Difference, Differential in Deleuze’s Early Work
	8.2 Difference, Differential in Literature (Patterns of Transversality)
		8.2.1 Art as Difference
		8.2.2 Literature, a Differential
	References
9 Virtual/Actual
	9.1 Between Virtual and Actual
	9.2 Actual/Virtual. The Literary Perspective
		9.2.1 The Reader’s Game
		9.2.2 Crystal Images (Cinema 2)
		9.2.3 Transfer and Reversibility (Hans Bellmer)
	References
10 Conclusion
	References